With releases on the Codes and Tectonic labels, and a foundational member of the Project 13 contingent, Acre is fast becoming one of the UK’s most distinctive young producers. Probing the depths of fwd music, a slew of Grime, Jungle + Techno rush through his productions – though he never rests on one, instead tying the peripheries of each together into a fractal paradigm of the UK underground and an exploration of vantablack futuristic sounds.
His debut album ‘Better Strangers’ landed on Tectonic in 2015 after a string of split 12” appearances alongside Filter Dread, FIS and Hodge. The seemingly impossible jostle between melted discordant Sublow, hyper ATL hit-hats, hydraulic crashes, 8-bit leads and whispers of melancholic R&B received widespread acclaim (Fact Mag’s #13 album of the year), and in 2016 the enigmatic South Mcr reared producer hasn’t looked like slowing down.
Already setting the tone for the year with his new monthly show on NTS with P13 and his first Japan tour completed, expect Acre to continue throwing his hybrid depth charges from the shadows as the year continues.
Afrikan Sciences (Eric Douglas Porter) stands solidly as one of the most innovative producers to surface in recent times. Affectionately titled the Rhythm Czar, Porter has steadily become one of the most well respected creators in Electronic music. Once described as the love child of Afrika Bambaataa and science-fiction writer Octavia Butler, the grandSun of Ra, Porter’s production has always crafted a marriage between various forms of music and sci-fi with an emphasis on freedom in tempos and meter. An accomplished DJ/Live Performer, his repertoire ranges from nu-soul, free jazz to experimental electronic orientations, appearing in venues like the BlueNote(NY) ,Jazz Cafe(London), Prince Charles(Berlin),Jazz House(Copenhagen), Nublu(Istanbul), and Boiler Room TV. Porter has released 4 benchmark albums, transcending jazz, techno and hip hop with pineal Afro-futurist vision. Porter is always exploring new ways to bring feeling and unique expressions into the electronic realms. Liberating perceptions by offering a positive vision of how relations between modern rhythmic music and African-American history can be highlighted and explored artistically.
Originally formatted in 1945, AUDINT currently consists of Toby Heys and Steve Goodman/Kode9. Drafted into the research cell in 2009 by IREX2, they have been directed to investigate the ways in which ultrasonic, sonic, and infrasonic frequencies are used to demarcate the soundscape and to subsequently perceive how their martial and civil deployments modulate psychological and physiological states. The information garnered from this research is subsequently utilised to enact installations, performances, books, and films.
AUDINT’s multi-sensory installations employ Unsound Systems (directional ultrasonic speakers, bespoke sub woofers, and wearable vibrating SubPacs) in dark humid rooms. Integral to each work is the Dead Record Archive – a chronicle of events, songs, books, scientists, historical figures, technologies, films, laws, etc that pertain to the ways in which frequencies psychologically and physiologically affect humans. This illustrated archive is composed on the insides of vinyl record sleeves. In this way AUDINT use and amplify the other side of sonic culture – the side of the record usually kept in the dark – music as a weapon. Installations have been carried out at venues such as – The Academy of Art in Berlin, Art in General in New York, the Unsound Festival in Krakow, and the Museum of Contemporary Art in Herford (MARTA), Germany. Performances have been done at Transmediale, Berlin, The White Building, London, and the New Forms Festival, Vancouver.
Their first book (‘Dead Record Office’) and vinyl record (‘Delusions of the Living Dead’/’DRNE Cartography’) are released together on AUDINT Records in the same limited edition triple gatefold package called ‘Martial Hauntology’ which also contains 6 large colour prints. By recounting the history of AUDINT since its inception, the book investigates deceptive frequency-based strategies, technologies, and programs developed by military organisations since 1944 to orchestrate the spectral phenomena of a haunting within an area of conflict. Instances of this frequency-based haunting of the battlefield include – World War II when the U.S. military’s Ghost Army pioneered speaker based deception techniques and apparatus; the Vietnam War in which the U.S. military deployed ‘Wandering Soul’ (‘Ghost Number 10’) tapes that imitated the voices of dead Vietcong fighters from helicopter mounted speaker units; and in Guantánamo Bay, where detainees who were legally dead yet biologically alive were tortured by Death Metal music.
New sonic and written instalments of the AUDINT’s archive will become available through AUDINT Records over the coming years. A 30-minute animated film based on the ‘Dead Record Office’ book is meanwhile in production as is a cassette release for the Reel Torque label out of Manchester.
Timedance owner, Batu has carved out a unique sound in a shockingly short space of time since his debut with Pinch’s Cold Recordings in 2013. Subsequent 12″s for Hotline, Pev & Kowton’s Dnuos Ytivil in 2013 and Beneath’s Mistry have found him grounded in Bristolian bassbin principles yet pushing that prism in wild, crooked new ways that have become something of a signature aesthetic.
This RBMA mix and interview will bring you up to speed with Batu’s groove, which just finished snaking its way across the USA in the wake of high praise from RA for Timedance 003 – inc. a killer Lee Gamble remix – on his homegrown label, who’ve just announced a superb new Lurka 12” due ahead of releases from the cream of the Bristol new class in 2016.
London’s Beatrice Dillon is a producer, composer and NTS DJ with acclaimed releases and remixes across The Trilogy Tapes, PAN, Boomkat Editions and Where To Now?. Recent solo performances include Documenta 14 Athens, Cairo’s Masåfåt Festival, Moscow’s Save Festival, Borealis Norway and The Barbican Centre, London. She has collaborated internationally with visual artists producing sound and music for film, installation and performance at ICA, Tate, Southbank Centre, Lisson Gallery, Centre d’Art Contemporain Geneva, Nasher Sculpture Centre Dallas and Mona Tasmania amongst others. Dillon was the recipient of Wysing Arts Centre’s artist residency in 2016 and is a resident on NTS Radio. Her collaborative EP with Gunnar Wendel (Kassem Mosse), ‘Pulse High’ was released on The Trilogy Tapes earlier this year.
Born to Nigerian parents and based in Virginia, USA, Chino Amobi – alongside his counterparts, Congolese-Belgian, Nkisi, and Portuguese-South African, Angel Ho – forms NON: a collective of African artists, and of the diaspora, using sound as their primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power.
Key releases such as Chino’s Airport Music for Black Folk and his Izlamic Europe collaboration with Rabit wove music and politics in a way other artists of his generation didn’t and don’t dare, exemplifying his strengths in providing unified themes and subversive insight to the wider consciousness.
It’s no push to see and hear echoes at this level of grassroots, autonomous agency and concerted organisation in early 90s UR or in the way grime made its first, viral moves in the mid ’00s.
We invite your live booking enquiries for one of the most thrilling, uncompromising, visionary artists of recent times.
Europe, UK, Asia, Australia, South America: email@example.com
A fiercely competent young DJ who blows away any room she plays, Cõvco is by far one of London’s most original and exciting DJs. Her sets combine a hi-energy mix of footwork edits and experimental dance music which often result in a frenzied dance floor experience. With recent explosive sets at the likes of London’s Tropical Waste parties and after party for the PAN ICA show, as well as a much anticipated set supporting RP BOO in London, Cõvco has an exciting year ahead.
Europe, UK, Asia, Australia: firstname.lastname@example.org
A project heavily inspired by William Bennett’s fascination for Haitian vaudou, deploying Central African percussion in radical new ways, generating an intense sound unrivalled in its physical and emotional intensity. The name was derived from the song Cut Hands Has The Solution by his original Whitehouse project. 2011 marked the Cut Hands debut release, the critically acclaimed and best-selling Afro Noise I album, since followed by Black Mamba on Blackest Ever Black in 2012, and 2013’s incredible Madwoman on Downwards. The distinctive Cut Hands art aesthetic and design is provided by vévé artist Mimsy DeBlois, whose amazing paintings feature on several Cut Hands covers and live posters. Cut Hands music has also featured in many films including Siberia: Krokodil Tears (2011), Inside Syria (2011), Kings Of Cannabis (2013), Snoop Dogg’s movie Reincarnated (2012), and Julien Temple’s Glastonbury (2012).
- Dedekind Cut
The first show was in the earliest days of the legendary Cocadisco club in London’s West End, run by Piers Martin – Cocadisco, with the help of DJ Benetti, pioneered the Italo disco revival in London since then Benetti has performed sets at festivals and clubs regularly all around the world: Japan, Australia, USA, Germany, Poland, Italy, Ireland, and many other countries – in the UK also at Bloc, Faktion, CUM, Optimo, Cry Parrot, Cocadisco, Zazou, ItaloBlack, Juicy?, and many others.
FATTI (despite some grains of truth of course the following is all fun nonsense because Benetti is a totally made-up character)
Who is Benetti? Some ‘facts’ from his ‘bio’:
– first gig at a Mafia-controlled pizza restaurant in Vigevano (Northern Italy) in 1980
– owns an enormous collection of rare Italo CDs and vinyl, filling three huge rooms and a basement in his house
– a cognoscento in making a special aphrodisiac spaghetti a la slinguata
– big in China, especially in cities like Shanghai and Hang Zhou (where he lived for 18 months as paid guest of the Communist town council)
– during a big Eurobeat party in Byelorussia last October he was playing at to 2,000 people, some visiting army recruits from the local garrison started firing guns into the ceiling and literally brought part of the roof down
– DJed at a katoey bar, Soi Cowboy, in Bangkok for two months before falling out with the local police force over unpaid bribes for live sex shows
– did a set of rapidissimo para para in Roppongi (Tokyo) which got out of control when a large group of teenage girls got assatanate and started stripping to Delta Force’s Bang Bang and Lolita’s Cherry Girl
– spends more than 50% of his income on his beloved D&G clothes and accessories
FKA Scratcha DVA, the Hyperdub associate Leon Smart brings his newest DVA [Hi:Emotions] avatar to Annex, following the release of his most narrative-driven record to-date – NOTU_URONLINEU.
A dystopian tale of humanity ruled by a universal mega corporation in a branded virtual reality, DVA’s speculative sonic fiction obscures the previously blurred edges of grime, house and UK funky even more – as Laurent Fintoni puts it in this FACT feature, the album is a “gripping meditation on humankind’s embrace of machines and the fluidity of identity in the digital age.”DVA brings his own brand of altered reality to live presentation in collaboration with visual artist Roca, in an immersive, visceral AV show – get a taste of it with this NTS produced video.
Endgame is a producer and DJ based in London, Hyperdubs most recent signee. His densely layered sound emerges from the cold ashes of grime. Combining corrosive melodies and artillery like percussion, with reference to dancehall, tarraxo, and drill, but skewed an contorted into a genre in an of its own.
He released his ground breaking debut EP ‘Endgame’ on Portuguese label Golden Mist (2015), followed by the breathtaking ‘Savage’ on New York’s Purple Tape Pedigree (2016). In July 2016, Endgame joined the Hyperdub family, releasing his latest EP ‘Flesh’, a fierce statement of intent that pulls apart club music’s component parts and propells them into a new era.
As founding member of Bala Club with Uli-k, and Kamixlo, and as the host of Precious Metals, a bi-weekly show on NTS for the last 5 years, Endgame has focused on acceleration and experimentation. Helping define a new sound for London, that resists categorisation, and reflects the global exchange of sounds, rhythms and styles.
Europe, UK, Asia, Australia: email@example.com
Berlin’s Errorsmith has been a respected figure in Germany’s club scene since the mid ‘90s. Through his own releases and his collaborations as part of MMM (with Berghain resident Fiedel) and Smith n Hack (with Soundstream/Soundhack), Errorsmith plays with the boundaries of dance music genres for an openness leading to new rhythmic and sonic shapes. Rooted in the club, his music is crafted with an ear for experimentalism, making for some deliciously intriguing physicality. His DJ mixes share a similar philosophy, disregarding genre norms in favour of body-moving eclectic musicality. Renowned for his popular synthesizer plug-in Razor, developed for Native Instruments, his self-built software instruments form the basis of both his productions and live sets. Some 20 years into his career, 2015 has seen Errorsmith release a new collaborative 12” with Mark Fell via the PAN label and more to come.
Roc Jiménez de Cisneros and Stephen Sharp make computer music for hooligans and deconstructed rave objects. Their music has been published on record labels like Entr’acte, Editions Mego, Presto!?, fals.ch or their very own ALKU, and showcased at festivals, clubs, galleries and museums throughout the world. EVOL recordings, installations and performances have a unique approach to sound matter, full of upward spirals, trance inducing patterns and challenging temporal structures.
Recent works include the LP “Proper Headshrinker”, published by Editions Mego, “Something Inflatable”, released on ALKU, a classic acid mix for iDEAL, and cassettes for Last Foundation and Sludge Tapes. They are currently working on stuff for Diagonal, Presto!?, BUS, Romvos, and Khalija.
UK artist Gage follows up 2016’s ‘Mercury’ with his third and most expansive record yet, the extraordinary ’2017 STAY PARO’.
At 8 tracks long, ‘2017 STAY PARO’ blurs the lines between EP and LP, relaying a complex web of abstract ideas and radical, blistering sounds that feed into the discourse surrounding post-Brexit realities in the UK. Although not overtly political, the project is certainly influenced by the subject of disillusionment; “I’ve been continually let down and frustrated by the world on a micro and macro scale over the last couple of years”, Gage explains.
The eerie, scorched textures and crushing atmospherics on opener ‘TBT/Flashback’ set the tone for a record that consequently explores these disappointments with stark idiosyncrasy. The sharp chills of ‘Deps’, the bleak, industrial clatter of ‘lil boro’ and the spiralling, hyper-trance of final track ‘Flash Pattern’ all point to how far Gage’s wide-ranging sound design has come too, having recently returned to London to work on his music full-time.
Boosted by this subtle, internal commentary on the world Gage inhabits — the fabric that ultimately ties the record together — ‘2017 STAY PARO’ revels in this rebelliousness, but also its tender moments. Tyler Ritchie, whom Gage credits as a massive influence on the record, plays out dreamy piano melodies on ‘Tyler’s Interlude’ for example— a rare, but welcome glimmer of hope that Gage is more than happy to offer up. “There’s definitely more pleasantries on this than on ‘Mercury’ for sure”, he enthuses.
Now in the midst of prepping his live setup, as well as working on new solo and collaborative music following recent high-profile remixes for Kelela and Abra, ‘2017 STAY PARO’ is the best yet from Gage — one of UK club music’s most creative and conscientious minds.
Europe, UK, Asia, Australia: firstname.lastname@example.org
Helena Hauff is a DJ and producer from Hamburg, Germany, where she runs a club night called Birds and Other Instruments at the Golden Pudel Club. Helena’s sound as a DJ can’t be nailed down as she cuts between genres with ease. Dirty Acid, Chicago, Electro and Wave mixed in an obsessive way, as you can hear on Blackest Ever Black’s sub label Krokodilo Tapes, where she released a limited edition mix tape, ‘Obscure Object’.
As a producer this obsessive nature comes across in the intensity of her music. This can be seen in her releases that have been on Actress’s Werkdiscs imprint, and Bunker offshoot, Panzerkreuz. In addition, she is half of ‘Black Sites’ along with F#X, who have also seen a release on Panzerkreuz as well as PAN
Helena is available for DJ bookings and also live as Hypnobeat.
Hypnobeat Rooted in the concept of a “neo-tribal” approach; reducing electronics to the emotional, hypnotic rhythm core, James Dean Brown founded Hypnobeat in 1983. Affected by the energy and the emotional impact of polyrhythms, their live sets turned out to become machine improvisations centered around the inimitable sound of the Roland TR-808 plus a wide range of analog gear including up to six synchronized rhythm machines. Active contributors to the tape scene of the 80’s, two retrospective Hypnobeat vinyl albums are planned for release in 2014 on Serendip and Dark Entries.
In 2012 Hypnobeat retransformed from its successor Narcotic Syntax (Perlon) with an exclusive live solo performance of James Dean Brown in Paris. Now 2013 sees the exciting new evolution of Hypnobeat with Helena Hauff joining the project. Available for live shows consisting of 1 x TR-707 + 3 x TR-808 + 1x TB-303 + an array of effects, Hypnobeat (James Dean Brown + Helena Hauff) is resurrected.
Hypnobeat – Provocative Percussion
James Dean Brown + Helena Hauff
Driven by the common DIY-attitude, James Dean Brown founded Hypnobeat in 1983. The main goal was to follow a “neo-tribal” approach by reducing electronics to the hypnotic rhythm core. Affected by the emotional impact of polyrhythmic energy, the collective’s live sets were often based on machine improvisations. Their wide range of analog studio/live gear included up to six synchronized rhythm machines – always with a focus on the inimitable sound of the Roland TR-808. Accordingly, Hypnobeat conceived an early form of contemporary club music, somewhere within the scope of classical Electro Funk and prototype Techno, and with a proto-Acid flavour – on “the front-line of sonic innovation before Techno was even a thing.”
In 1996, evolving from Hypnobeat, James Dean Brown formed Narcotic Syntax, a Perlon-rooted project he boosted together with Yapacc in 2003. Given the electronic music development with an increased interest in the early 80es cassette scene, it seemed unevitable that Hypnobeat would retransform from Narcotic Syntax. Consequently, what was supposed to be a one-off solo live appearance by James Dean Brown at Serendip Festival, Paris in 2012 became the exciting new evolution of Hypnobeat with Helena Hauff joining the project a year later.
The duo’s live performances are completely based on improvisation, exhausting the power of an untamed Roland horde which is unique on stage: 1 x TR-707 + 3 x TR-808 + 2x TB-303 + a formidable array of effects = provocative percussion, voodoo passion, tribal ecstasy, hypnodelic temptation, psycho-exotic magic, universal resonance, and a quantum of danger under a crypto-bohemian approach.
Live shows have been staged at prominent events like CTM (Berghain), Les Siestes Électroniques (Toulouse), Écoutes au Vert (Geneva), Insomnia (Tromsø), SAVE (Moscow), Intonal (Malmö), Rural (Japan) and Krake (Berlin). Hypnobeat has three EPs with current material out on Arma, istheway and Pluie/Noir, with more to follow on Rush Hour, Perlon, Bedouin and others, plus retrospective releases of original 80es productions on Dark Entries and Serendip.
Actve since 2007, Jesse Osborne-Lanthier is a Montreal-born Berlin-based multdisciplinary artst and musician focused on incitng alternatve cognitve responses via mixed sonic material. Lanthier’s collaboratve aliases include Femminielli Noir with Bernardino Femminielli, The H with Francesco De Gallo (Hobo Cubes) and ongoing collaboratons with labels such as Where To Now?, Halcyon Veil, MIND Records and raster-noton. Interested in making music and art to substantate and archive his various moods, thoughts, politcal views and current (…sometmes fleetng) interests, his focus is to create an abstract memory of himself that he can engage with; to understand and evaluate the ongoing interactons between tme, ideas and identtes, both in common and private areas. Unlimited by musical genre and the confnes of musicality itself, Lanthier’s sound operates through contrasts: from subtle to textured, from structured to fluid, from symphonic to dissonant, from minimal to intricate, his works are at once present, futuristc and imtemporal. He creates hybrids of languages through the use of current technologies and techniques, maintaining a taste for intensity as a tool for immersive engagement.
In 2014 Osborne-Lanthier released ‘Otherwise Insignifcant Psyche Debris’, an album comprised of 22 live recordings from the course of the past few years, as a cassete and digital download via labels Hobo Cult and MIND Records. Focused on the concept of dispositonal emotonal regulaton, the body of work deals with acceptance, avoidance, problem solving, reappraisal, ruminaton, and suppression. It contains remixes by Grischa Lichtenberger (Raster-Noton, Semantca), Vereker (L.I.E.S.), Hobo Cubes (Debacle, Where To Now?, Digitalis, Opal Tapes), VNDL (Kvitnu, Hymen), and Robert Lippok (To Rococo Rot, Raster Noton) and was mastered in collaboraton with Vladislav Delay. It acts as the “exaggerated and terminal” follow-up to the collecton ‘Athenaeum of Unedited, Superannuated, Incomplete, Unreleased, Intmate Works 2011-2013’, a selecton of more rhythm-oriented pieces, again taken unedited from the main front-of-house mixing boards at his shows in Montreal, Berlin, Barcelona, and Notngham. Osborne-Lanthier has assisted in the producton of many albums including multple Where To Now? releases and Maurizio Bianchi’s ‘The Mind Is An Ancient Capital’. He has toured America and Europe on many occasions, performing at festvals such as Mutek, Elektra, CTM and FASMA. His audio and visual works have also been featured in museums, galleries, clubs, venues and studios such as the Musée d’art contemporain de Montréal, The Notngham Contemporary Museum, Natonal Gallery of Canada, La Pette Mort, São Paulo Museum of Image and Sound, NK Berlin and EMS Studio Stockholm. Jesse is currently prepping releases for pioneering experimental pop king-pin label raster-noton and Rabit’s rapid ground-gaining Halcyon Veil imprint.
Kamixlo’s music lies at the riveting, emergent edge of grime, reggateon and experimental bass dimensions. The London-located producer’s Demonico EP with Visionist’s Codes X Pan marked out bold, unique new territory between established poles, a sound which he’s key in fostering at the Bala Club events and with his NTS show, which will soon be showcased on the forthcoming Bala Club compilation + a second solo EP.
At the crux of new club movements lead by pan-latin diaspora artists, Kamixlo’s music been compared and aligned with Berlin’s boundary-pushing Janus Club sound, who in early 2016 shared a 2 room event with Bala Club at Corsica Studios feat. M.E.S.H., Total Freedom b2b Sami Baha, Uli K, Chino Amobi and Nkisi, a.o.
Keith Fullerton Whitman
Keith Fullerton Whitman is a musician currently based in Cambridge, MA. Starting in the mid-1990’s while working on a “Music Synthesis” Degree at Boston’s Berklee College of Music, Keith began exploring electronic music’s many facets, eventually yielding dozens of full length albums, singles, remixes, and compilation appearances for influential labels such as Kranky, Editions Mego, PAN, Planet µ, Carpark, Room40, Amethyst Sunset, Amish, NNA Tapes, No Fun Productions, Agents of Chaos, Arbor, Digitalis Limited, Ekhein, Heavy Tapes, Rare Youth, Root Strata, and many more.
These days his creative energies are largely put into the continued development of a truly “Live Electronic Music,” incorporating an ever-changing hardware-based modular system that allows for a complexity of sound & vision that had previously only been available via software-solutions. While this work has recently manifested itself as a pair of albums for Editions Mego entitled “Generators” & “Occlusions,” it’s largely intended for the stage.
Over the past 15 years, Keith has given over 500 performances of his music – everything from solemn held-tones to pointillist reckless-abandon – at venues ranging from “Punk” basements to some of the most celebrated European & North-American festival stages such as Akousma, CTM, Dissonanze, Electronica En Abril, Kontraste, LUFF, Mutek, Novas Frequencias, Présences Électroniques, Skanu Mesz, Sonic Acts, Suoni Per Il Popolo, Unsound, Werkleitz, etc. In addition, he has given dozens of talks, taken part in Colloquia, set up fIlm & audio installations, and organized music festivals, concerts for other performers, and film events in the Boston area & beyond.
He has collaborated both on stage and on record with Oren Ambarchi, Rhys Chatham, Tony Conrad, Greg Davis, Deerhunter, JD Emmanuel, Lawrence English, Mark Fell, David Grubbs, Michael Karoli & Malcolm Mooney (Can), Eli Keszler, Felix Kubin, Alan Licht, Matmos, Geoff Mullen, Benjamin Nelson, Charlemagne Palestine, Terry Riley, Ben Vida, and countless others. He is also known for his performances and realizations of works by composers such as Phill Niblock, Dick Raaijmakers and Conrad Schnitzler. He has composed for dance, and his music has been set to motion by choreographers & dance ensembles including Chantal Yzermans (at the Merce Cunningham Dance Studio,) the Andersson Dance Company, and the NYU New Music and Dance Ensemble. He has supplied music and sound-design for several video game & “music for picture” projects, advertisements, and assorted environments.
A 2011 joint commission from Sonic Acts, Kontraste Krems, and Le Groupe de Recherches Musicales (GRM) led to a week-long session in the fabled INA-GRM studios in Paris, during which Keith realized a life-long dream, completing an 80-channel, long-form Musique Concrète work entitled “Rythmes Naturels” utilizing many of the idiosyncratic early-electronic instruments held in the studio’s archive.
Since 2003, in his spare time, he has helmed a highly specialized experimental-music distribution company out of his studio / office / work-space in Porter Square, Cambridge, MA named “Mimaroglu Music,” charged with helping labels & artists all over the world with the preparation & dispersion of their tangible music artifacts. Prior to this he was the Sales-Manager of noted New England distributor Forced Exposure, for whom he personally penned hundreds of “capsule” descriptions of catalogue new-arrivals – a tradition he keeps alive to this day with Mimaroglu.
South London based musician Klein is an artist who’s neoteric vision has seen her quickly become one of the UK’s most intriguing and unpinnable producers and performers. Her often playful and restive approach to composition is instantly alluring. Samples of obscure Nigerian B-Movies clatter into jagged beats. Distant piano loops lurk in the haze whilst beguiling vocals fade in and out of the sensory World she has created.
This year has seen the release of her debut album Only, self released online and then on heart shaped diamond USB stick by DIY label Howling Owl Records, and more recently the Lagata EP that has led her to be featured in Dazed and Confused, Wire, and i-D magazine; the latter of which premiered the beautiful Akinola Davies JR directed video for Marks Of Worship – a stunning five minutes piece of murky ambience dominated by a Whatsapp sermon sent from a Nigerian Aunt. You would expect nothing less from Klein.
Birmingham-raised, London-based Lee Gamble is a producer and DJ of exploratory electronic/dance music, and owner of the UIQ label. From roots as a teenage DJ rinsing state-of-the-art jungle on pirate radio, Lee explored the mechanics and dimensions of computer music, avant composition and noise in the ’00s with a series of abstract, sculptural releases and live improvisational and multichannel presentations. For the Entr’acte label, he released – ’80mm O!I!O’ , and the ‘Join Extensions’  album, amongst collaborations with artist Yutaka Makino (SPLIT – 2010) and improvisations with contemporary composer John Wall.
Subsequently, he tracked back to the floor from an oblique angle with the ambient-techno / jungle deconstructions of two defining releases for the PAN label – ‘Diversions 1994-1996’  and ‘Dutch Tvashar Plumes’ , the latter of which was hailed as FACT Magazine’s ‘Best British Album’ in the ‘Alternative Brit Awards 2013’. In the following year Lee issued his most expansive records to date with the ‘Kuang EP’  and ‘Koch’  album, which both pursued a more nuanced perspective on dancefloor states and conventions – also found in Lee’s remixes and work for Mount Kimbie, Special Request, Indie guitar band ‘Sunns’, Amon Tobin and Hyperdub. In 2016 Lee dropped his first 12” for his newly minted UIQ label ‘Chain Kinematics’ which as Pitchfork suggests “..utilizes the incommensurate speed of jungle to highlight the meditative quality of an ambient track”
Lee has toured extensively over four continents, playing an hallucinogenic live A/V show with collaborator Dave Gaskarth at festivals such as Unsound, CTM, Sónar and ATP, Mutek as well as regularly DJing, both solo and often b2b spinning house and techno with L.I.E.S.’ Ron Morelli. He also hosts a monthly NTS radio show, and in 2014 produced the Hyperrealist Absurdist Psychodrama, ‘Your Sociometric Afterlife’ exploring the ‘The Illusion of Death’. Most recently he conceived the UIQ label as an open-ended portal for records by other artists who resonate with his own music, somewhere in the noumenal realm between waking life and dreamstates.
Logos is another pillar of London’s Boxed prism, as well as a celebrated solo producer/DJ, and is also known as 1/3 of the cyberpunk-inspired trio))) The Sprawl, alongside Shapednoise and Mumdance, with whom he runs the Different Circles label and club events.
Across releases for Keysound Recordings, Tectonic, Glacial Sound and his own label, Logos’ productions persistently recall the lush sci-fi darkness and space of late ’90s Metalheadz and Reinforced records, whist isolating and augmenting the mechanics of esque-y instrumental grime and early, ‘ardcore rave in a style he aptly terms Weightless.
In 2016 we hold hopes for a follow-up to the below-kelvin cinematic sound designs of his modern classic Cold Mission (2013) album and the rugged rollers of last year’s Proto collab with Mumdance. Whilst we can confirm or deny nothing at this stage, it’s safe to say that new material is necessary, if not in-progress already for Different Circles, following more recent remixes of M.E.S.H and Mr. Mitch.
Europe, UK, Asia, Australia: email@example.com
Tireless investigator of dance music’s mechanisms and working parts, and head of respected experimental label Presto!?,the Italian musician produced one of the last couple of years most unique albums “Quantum Jelly” (on label Editions Mego).
An amazing deconstruction of sound and rave culture in the 90’s, carefully analyzing it’s constituent parts for reuse in avery different context, with repetition and isolation as key concepts.
His work explores the idea of the “buildup” found in euphoric dance music as a starting point to make a non-uplifting,more introspective piece that implicitly preserves its emotional tension and drama.
The music often begins with one simple idea or musical pattern, forcing it into a sonic spiral of percussive, endlesslycontagious, arpeggiated melodies.
Lorenzo Senni, who coined the term “Pointillistic Trance” to describe his approach on Quantum Jelly, is described as a sadistic scientist that is ripping the spinal cord out of trance and dangling it in front of our eyes. Critically acclaimed “Quantum Jelly” was 10th on Boomkat TOP100 of 2012, 34th on Fact TOP50 releases of 2012, 7th on DEBUG November 2012 Chart. With his side project STARGATE, released on the italian Hundebiss, with “Hexplore Superfluidity”
and played almost 30 gigs around Europe in 2013.
Lorenzo Senni is also part of the power-trio One Circle along with
Vaghe Stelle & A:RA. In September 2013 they released their first Ep on Left_Blank, and a new work on Italo-berlinese G.O.D. named “Transparency”.
New album “Superimpositions”, released Sept-2014 on Boomkat Editions, was on Fact Magazine TOP 100 RECORDS OF THE DECADE [so far].
As founder of Presto!? Records, he has released albums by a number of internationally acclaimed artists including Florian Hecker, Carsten Holler, DJ Stingray, Carl Michael Von Hausswolff, Palmistry, EVOL, Marcus Schmickler, just to name a few.
He has composed music for Cinema, Theater and the soundtrack for last Yuri Ancarani award-winning movie “Da Vinci”, showed at 55th Venice Biennale – Best international short film ” @RIDM – Montreal – Award for Most Technically Innovative Film at ANN ARBOR FILM FESTIVAL 51st EDITION. He also wrote music for R’n’B singer Tom Krell aka How To Dress Well new record out on Weird World (Domino)
Lorenzo Senni played international festival CTM 13 Golden Age, SONAR 2013 20th Anniversary , Unsound, Club To Club, Donau Festival, has exhibited his work and carried out performances at Centre Pompidou (Paris), Casa da Musica
(Porto), Auditorium Rai (Torino), Auditorium Parco della Musica (Roma), Donau Fest (Krems), Berghain (Berlin), SPACE (London), Gasconade (Milan), Zabludowicz Foundation (London), C2C (Turin), Schinkel Pavillon, S.M.A.K. (Ghent), ICA (London), Eletronika Festival (Brazil), MACBA (Barcelona).
Europe, UK, Asia, Australia: firstname.lastname@example.org
As a co-resident of Berlin club night Janus, M.E.S.H. has been constantly active bringing fragmented rhythms to the dancefloor and refiguring club dynamics on records such as Share The Blame and Scythians. His debut full-length, Piteous Gate, was a bold step forward, leaving behind much of the dance-informed elements of his previous work and creating an unpredictable, sometimes frightening album of oblique, theatrical sound-stages. Violent cinematic effects enshroud ornate, virtual-acoustic instrumentation, with an eerie calm ebbing beneath the flux — a sense of shocked ambivalence.
Europe, UK, Asia, Australia: email@example.com
Mark Fell is a multidisciplinary artist based in Sheffield (UK). After studying experimental film and video art at the local polytechnic he reverted to earlier interests in computational technology, music and synthetic sound. In 1998 he initiated a series of critically acclaimed record releases, featuring both collaborative and solo works, on labels including Mille Plateaux, Line, Editions Mego, Raster Noton and Alku. Fell is widely known for combining popular music styles, such as electronica and techno, with more academic approaches to computer-based composition with a particular emphasis on algorithmic and mathematical systems. His recent musical practice has become increasingly informed by non-Western musics, this is evident in two linked works “Multistablity” and “UL8” which explore a number of unfamiliar timing and tuning systems. Uncut magazine called these “completely mind-blowing” and the Wire magazine said these were “amazing”. As well as recorded works Fell produces installation pieces often using multiple speaker systems. Although well versed in the use of ambisonics, his work in this area is characterised by ‘non-illusion based’ approaches where multiple waveshapes are spatially distributed to form complex synthetic sonic environments. The diversity and importance of Fell’s practice is reflected in the range and scale of international institutions that present his work – from large super clubs such as Berghain (Berlin), to Hong Kong National Film archive and many others. Fell has received commissions from prestigious institutions including Francesca Von Habsburg’s Thyssen-Bornemisza Art Contemporary (Vienna) with a premier at Seville Biennale of Art, and the National Ballet of Madrid have performed to his works. He has been recognised by ARS Electronica (Linz) with an Honorary mention in the digital musics category, and was shortlisted for the Quartz award for his contribution to research in digital music. In addition to his creative practice Fell has been involved in a number of academic research projects ranging from computer science to musicology, and as a curator Fell is widely recognised for his contribution to the development of experimental electronic music in Europe.
Sound artist Martins Rokis a.k.a N1L made one of 2015’s most striking debuts with the Wrong Headspace EP’s light-and-time-bending alien dance music for Lee Gamble’s UIQ label. As N1L, Rokis intersects computer music and dancefloor vectors, exploring perceptual predilections through the sensual immediacy of abstract sound design.
His work has largely been realised for gallery installation and multi-channel A/V performances,but most recently converted into a form of live performance pressure that perfectly translates to the dancefloor. N1L is primed for club, gallery or installation bookings.
“Listening to the music of N1L is at times like staring into a vast, bleak expanse where time moves ata different rate to the rest of the world. N1L’s music feels stretched and compressed in equal measure, combining nostalgic traces of 90s techno, jungle and rave into something that sounds like it’s been torn from another era and warped in the process.” – FACTmag
As co-founder of NON Worldwide, whose raison d’etre is described as “a collective of African artists and of the diaspora, using sound as their primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power”, Nkisi’s ethos and music is imbued with a certain punk sensibility along with a political push back against conformity. Her DJ sets draw from a wide range of influenced forming a fast paced and exhilarating experience in the dance. Her production reflects deeply in these influences also and provide a sound that is equally relentless and evocative.
Europe, UK, Asia, Australia: firstname.lastname@example.org
Olivia has been a key player in the Polish electronic music scene for 12 years, both solo and performing as Chrono Bross, with her brother Kinzo Chrome.
The originator of the fabled Kraków club night, Radar, Olivia, together with her confrère Chino, remain fully committed to growing the local scene. As an Unsound regular, she co-hosts their monthly radio show at Radio Kraków.
Her reputation has steadily amplified over the years thanks to her idiosyncratic track selection and excellent technical skills. Through raw and dark techno, liquid acid, deep cosmic reaches, the simplicity of electro and the warmth of house, her sets shine with originality and a strong belief in the sound she delivers.
She draws inspiration from both music and the world around her. From the future shock of Detroit techno (Mad Mike, Jeff Mills, Robert Hood, Juan Atkins, Scan 7), the distinctive Dutch sound (Clone, Creme, Bunker, Viewlexx and Rush Hour) through to the images and ideals of science fiction and technological progression throughout the 70s. The infinity of space, the unfulfilled promises of robot designs and the unexplained mysteries of paranormal phenomena all inform her approach to sound and her search for music.
Palmistry is the project of London-based musician Benjy Keating. A vocalist and producer with a singular vision and voice, Palmistry makes hybridized pop music that is both distinctly new and yet, like the best songwriting, sounds instantly familiar. As the producer, writer and performer of his debut LP, PAGAN is a succinct showcase of his holistic approach to contemporary pop, where melancholy and euphoria share equal space and sonic decisions resonate as much as the emotions that run through it. Beyond the music, Palmistry gives us a multi-layered experience – working alongside talented collaborators to build his own visual world through artwork, photography and film.
Signalling from the North of England, newcomer Rian Treanor re-imagines the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of interlocking and fractured components.
Having left a vivid impression in 2015 with his debut 12″ A Rational Tangle, he’s just delivered a scintillating 2nd EP Pattern Damage on The Death of Rave, landing with a resounding 10/10 and album of the month in Mixmag and Boomkat on release.
Pattern Damage sees a marked step from last year’s debut, hypridising idiosyncratic footwork and garage mutations with noisier, pointillist hooks and innovative arrangements.
By splicing the syncopated swing ’n parry of Sheffield’s speed garage sound at +8 with the whirlwind flux of Chicago footwork, Detroit jit and the dizzying dynamics of Max/MSP software, his ping-pong ballistic live performances dance from pendulous, aerobic minimalism to taut grooves with grid melting nous, all driven with a breathlessly forward, quicksilver style that’s entirely Rian’s own and with few comparisons in the current field.
Russell Haswell is a restlessly forward-thinking, genre-defying artist, performer and curator born in Coventry and currently based in London, England. With a background steeped in conceptual art, computer music, black metal, noise, techno, laser-graphics, free-stye and solo improvisation, his practice is renowned for broaching the extremities of visual and sonic arts.
He’s performed in noted Live and or HDJ [hard disc jockey] collaborations with Aphex Twin, Gescom, DJ STINGRAY, PAIN JERK, Pan Sonic, Regis and Masami Akita (Merzbow), among others, and worked with Florian Hecker on Iannis Xenakis’ UPIC system in their “Haswell & Hecker” duo, whose ‘Blackest Ever Black’ (Warner Classics) LP is widely considered a milestone of modern electronic music composition. Russell’s recorded work has also been published by a wide number of esteemed imprints, most notably the 8 track CD catalogue ‘Live Salvage 1997 – 2000′ (Honourable Mention, Digital Music’s, Prix Ars Electronica) for Editions Mego, but also for Warp, Downwards, Bocian and his OR label, home to world’s first MiniDisc release. In 2016 Russell supported Autechre on a 30 date european tour, and started “Haswell studio Bleep store”, to release HI-RES digital recordings quickly, and has currently completed a forthcoming release for Powell’s Diagonal Records, his 5th release for the label.
Sensate Focus is a project by Sheffield-based artist and music producer Mark Fell, responding to the musical structures, techniques, vocabularies and sounds present in a collection of house musics produced in North America around 1992-1994.
Through a series of records (released in conjunction with Editions Mego) and “live” presentations, Sensate Focus addresses the division of music into repeatable patterns of observable and fixed duration; the placement of percussive events at specific points within patterns to demarcate distinct levels of temporal division; the organisation and repetition of patterns to form larger “arrangements”; and, strategies by which layers of instrumentation are introduced and removed.
For Fell this exercise necessarily implies a response to the technological structures, techniques and vocabularies present in equipment within which they are constituted, and their functionality within specific social contexts.
Slackk is the boundary-shifting producer, samurai-skilled DJ, and co-founder of London’s influential Boxed club, alongside his peers and fellow visionaries, Logos, Mr. Mitch and Oil Gang.
Since the mid ’00s Slackk has been a crucial node in the UK’s variegated and celebrated grime rhizome, illustrating and exploring its mutable links with myriad dance musics via incendiary DJ sets and a slew of releases on Numbers, Planet Mu, UTTU, Local Action, and, most recently R&S.
He’s seen grime go several stages of evolution and mutation – from underground notoriety to mainstream success and back again (and again) – yet always held to a core of hard ‘n sweet, roadwise values, with weekly club rinse-outs showcasing up-to-the-second UK and international styles in e-f-f-e-c-t, and a regular radio show recognised as a valuable incubator of new talent.
Europe, UK, Asia, Australia: email@example.com
Szare were formed during a game of darts at the Royal Oak pub in South Manchester. Their first transmission came via a Horizontal Ground white label in 2009 under the 188.8.131.52.5 pseudonym. They have since released music under the Szare moniker through Frozen Border, Idle Hands, Field Records, Project 13, amongst others.
They make techno which is strongly influenced by the pub scene in Lancashire and North Derbyshire, though have occasionally dabbled with a more Staffordshire-inspired sound.
TCF is the moniker of Norwegian contemporary artist and musician Lars Holdhus. His work explores themes of code, cryptography and musical composition through the use of visual, sonic, built and written concepts. Holdhus creates a world that draws references from musique concrete, hardstyle, hardcore, poetry and digital artifacts. His practice shifts between art exhibitions and performing music pieces. Some recent exhibitions included Look….No Hands at HHDM in Vienna, Access Speed at Vault in Berlin and Driving Fast Nowhere at Polansky Gallery in Prague.
The titles and descriptions of his work are written in cypher text, the key to which is hidden within the piece itself. The first release came out on YYAA tapes in 2013 and was made in a limited edition of 50 copies. His upcoming release on Liberation Technologies titled E4 15 C4 71 97 F7 8E 81 1F EE B7 86 22 88 30 6E C4 13 7F D4 EC 3D ED 8B further explores the cryptographic theme, consisting of digital and physical content containing the necessary keys to unlock the full meaning of the work.
Europe, UK, Asia, Australia: firstname.lastname@example.org
William Gibson’s uncannily prophetic novel, Neuromancer, was the 1st in a set collectively known as The Sprawl. The same term also refers to a fictional Megatropolis covering the entire Eastern US seaboard in the books, and was also the title of a staggering, standout track on Mumdance’s pivotal Take Time EP.
The Sprawl is now also a noun for Logos, Mumdance and Shapednoise’s new collaborative trio, which was first conceived at Berlin’s CTM15 festival. They made their recorded debut with EP1, released in November 2015, of a rolling series to be archived by The Death of Rave.
Jack Adams aka Mumdance has been busy restructuring the DNA of grime and UK bass stylings for years now. Following early success with heavy-hitting low-end mutants, he revamped his style and started from scratch, using predominantly analogue gear for his own productions. In 2014, Mumdance and Logos founded Different Circles, a label dedicated to the future sounds of grime and the genre’s interfaces with bordering aesthetics borrowed from ambient to techno.
Logos is best known as a producer and DJ in his own right, and possibly the first to explore the disembodied, ‘weightless’ style of grime on his debut LP Cold Missionon Keysound Recordings. Alongside Slackk, Oil Gang and Mr. Mitch he is also one of the heads behind the seminal instrumental grime night Boxed.
Berlin via Palermo’s experimental techno auteur Shapednoise has made a name for himself by pairing eerie ambience in the tradition of the Italian horror score with industrial leanings on labels like Opal Tapes, Dominick Fernow’s Hospital Productions and his own Repitch Records.
Europe, UK, Asia, Australia: email@example.com
v1984, the Glacial Industries affiliate whose most recent release, ‘Becoming (N)one’, saw him provide what RA describes as “doom-laden bass” with “luminous melodies”, bringing to the table a devastatingly beautiful take on increasingly saturated genre most notably with the almost constant presence of the piano.
It is the piano that will form an integral part of his yet to be premiered live show, slated to be debuted in the first part of 2017 in conjunction with an EP to be released on a crucial label.
v1984 DJ sets encompass club workouts, instrumental obscurities and his now infamous edits, which have garnered widespread attention, both in the club and on radio.
Europe, UK, Asia, Australia: firstname.lastname@example.org
Veronica Vasicka is a photographer, musician, DJ and founder of the epic record label and on-line music resource Minimal Wave. As one of the founding members of East Village Radio, she managed the station during its pirate days and began collecting obscure and long forgotten gems that fell somewhere between the Cold Wave, Post-Punk, Industrial and Synth-pop genres.
Not knowing what to classify these bands as, she coined the genre Minimal Wave and set up the website minimalwave.com as an online resource to share her finds with the rest of the world.
The response to the website was huge and shortly after its launch, Veronica began tracking these artists down and re-issuing their work on the Minimal Wave label. Most of these bands recorded extremely limited copies of their work in their basements and shared their work with the world via John Peel’s radio show and a handful of underground music mailings. The music released on the label ranges stripped down, D.I.Y. synth-pop to pioneering industrial electronics.
In addition to running Minimal Wave, Veronica launched the Cititrax label as way to expose newer synth-based acts. She DJs monthly in her hometown, New York City, and around the world, as well as every Sunday from 6-8pm ET on her East Village Radio show Minimal Wave.
She has released over 50 albums now, amongst them were two highly lauded compilations: The Minimal Wave Tapes: Volumes 1 and 2 which were picked up, released and distributed by Stones Throw Records.
Veronica’s DJ sets range from raw, danceable industrial electronic to cold wave fused with mutant house and underground techno. She likes to tell a story when spinning and to teach the crowd about the roots of electronic music. She has a fantastic talent for synthesizing her influences into an unforgettable night of dancing.
Europe, UK, Asia, Australia: email@example.com
ZULI is Ahmed El Ghazoly – a multi-instrumentalist, producer and sound artist from Cairo, Egypt – co-founder of VENT, a music-space-turned-club-night in Cairo with a sister night and record label based in London. ZULI has been a prominent figure in Egypt’s independent music scene for almost a decade now, with production credits that span from Post-Punk and Shoegaze to Hiphop and Techno.
- PHONE+44 (0) 7581 095 626
- ADDRESSAnnex Agency
41 Alexandra Road
Thanks for subscribing to the ANNEX newsletter and updates.